BOZZETTO FÜR EINE DEKORATION MIT ZWEI PUTTEN FÜR DEN SALON-KAMIN IM BEDFORD-HOUSE LONDON Höhe: 39 cm. Breite: 24 cm. Tiefe: 10 cm. Terrakotta. Plastischer Bozzetto in Form einer Triglyphe, deren Gesims von zwei Putten in Haltung von Karyatiden gehalten wird. Vollplastisch, in hellfarbiger Terrakotta, marmorweiß gefasst. Der Bozzetto ist ähnlich gestaltet wie die Ausführung in Marmor. Der flämische Bildhauer wirkte überwiegend in England, beauftragt für Denkmäler, Baudekorationen und Portraitbildnisse. Als Sohn eines Landschaftsmalers und Bruder zweier Maler studierte er bei Michiel van der Voort d. Ä., wurde 1714/15 Mitglied der Antwerpener Bildhauergilde und hielt alsbald zwei Lehrlinge. Sein Aufstieg zum führenden Bildhauer Londons erfolgte um 1740, gefeiert für Werke wie das Denkmal für Isaac Newton, die Statue für Marlborough oder die Büste von Walpole oder George Hamilton 1733. Im selben Jahr schuf er die Bronze-Reiterstatue für William III in Bristol. Zahlreiche seiner Werke befinden sich in der Westminster Abbey. Literatur: Zwei weitere Beispiele, abgebildet in: Diane Bilbey, British Sculpture 1470 to 2000. A Concise Catalogue of the Collection at the Victoria and Albert Museum, London, S. 137 ff. Dort mit Abb. „Putti supporting an architrave“, um 1730. In Marmor Höhe: 133 cm, Inv.Nr. A.4-1990, Unterlagen beigegeben. (1402101) (11)
John Michael Rysbrack 1694 - 1770 The Assumption of the Virgin Pen and brown ink with brown wash, heightened with bodycolor 384 by 297 mm; 15 by 11⅝ in.
Inscribed ''Mich:l Rysbrack Inv:t'' on the base. Pen and brush in brown on handmade paper. 18.2 x 13.1 cm. Old mounting. Framed. Provenance: Gallery David Peel, London (1977). - From the estate of a Hessian collector.
ATTRIBUTED TO JOHN MICHAEL RYSBRACK (1694-1770)Aeetes, King of Colchis, giving the hand of his daughter to PhrixusPen and ink and wash heightened with white, 26.5 x 38.5cmInscribed 'Mich.l Rysbrack Inv.t' in ink on the margin
the socle inscribed: Georgius Comes D. Orkney. Filius / qunitus Gulielmi Dux Hamiltonie / Aetatis Sui 67. A.D. 1733 (George, Earl of Orkney, the fifth son of William, Duke of Hamilton. His age 67 in the year of our Lord 1733)
PREMIER et second états (sans et avec l'adresse de Faber) de ce portrait du sculpteur John Michael Rysbrack (1694-1770), fils du peintre anversois Pieter, qui s'était établi à Londres dès 1720.Provenance : Gaston de Ramaix (cachet; # Lugt 4099).
(École anglaise) - Dessin - RYSBRACK, John Michael (1694-1770).- Trois voyageurs en toge se reposant. Dessin original, plume et lavis aux encres noire et bistre, papier vergé, 20,2 x 20,4 cm, collé en plein sur f. de carton avec mention ms. postérieure "Michl. Rysbrack Sculptor" à la plume dans la marge inf.
(École anglaise) - Dessin - RYSBRACK, John Michael (1694-1770).- Trois hommes en toge marchant. Dessin original, plume et lavis à l'encre bistre, rehauts de gouache blanche, papier, 20,2 x 14,8 cm, collé en plein sur f. de carton avec mention ms. postérieure "Rysbrack Inventor" à la plume dans la marge inf. (oxydation dans le blanc).
(École anglaise) - Dessin - RYSBRACK, John Michael (1694-1770).- Lion s'agrippant à un rocher (vue en plongée). Dessin original, plume et lavis à l'encre bistre sur crayon de sanguine, papier vergé, 12,2 x 16,7 cm, collé en plein sur f. de carton avec mention ms. postérieure "Rysbrack Inventor" à la plume dans la marge inf.
(École anglaise) - Dessin - RYSBRACK, John Michael (1694-1770).- Femme agenouillée sur un coussin. Dessin original, plume et lavis à l'encre bistre, rehauts de gouache blanche, papier, 11,8 x 9 cm, collé en plein sur f. de carton avec mention ms. postérieure "Mich. Rysbrack Invt." à la plume dans la marge inf. (faible oxydation dans le blanc).
A MARBLE BUST OF AN EMPEROR THE SHOULDERS ATTRIBUTED TO JOHN MICHAEL RYSBRACK (1694-1770), CIRCA 1740-60, THE HEAD 17TH OR EARLY 18TH CENTURY 21 in. (53.4 cm.) high, overall
A BRONZED PLASTER BUST OF SIR ISAAC NEWTON >AFTER MICHAEL RYSBRACK (1694-1770), POSSIBLY CAST BY PETER VANNINI, SECOND HALF 18TH CENTURY<br>On a later circular black painted wood socle and a George II grey painted pine pedestal, of tapering paneled form, the stepped top with foliate and cabochon mouldings and hung with acanthus swags on a foliate plinth, indistinctly inscribed in green paint CGT >23½ in. (59.7 cm.) high; 29¾ in. (75.5 cm.) high, overall; 72¾ in. (184.8 cm.) high, with the pedestal<br>
ANTWERP 1693 - 1770 LONDON A GOAT-HERDER WITH HIS FLOCK together with a Study of the Death of Meleager and a Composition of Classical Figures, by the same hand Quantity: 3 The first: pen and brown ink with red chalk and grey and brown wash; the second: pen and black ink and brown wash, heightened with white, on prepared laid paper; the third: pen and brown ink and brown wash, heightened with white, on prepared laid paper; the first: inscribed lower left: Mich:e [sic] Rysbrack Sculptor 1750 The first: 148 by 187 mm; the second 195 by 356 mm; the third: 195 by 254 mm
John Michael Rysbrack (Antwerp 1694-1770 London) A Turk with his horse, forked lightning in the sky black chalk, pen and black ink, brown wash, heightened with white on brown prepared paper 7¼ x 7 1/8 in. (18.6 x 18.1 cm.)
SOLD IN AID OF THE ASPINALL FOUNDATION WODEN (WEDNESDAY) Portland stone, on stone base statue: 173.5cm., 68¼in base: 21.5 by 71 by 71cm., 8½ by 28 by 28in.
SOLD IN AID OF THE ASPINALL FOUNDATION SEATERN (SATURDAY) Portland stone, on stone base figure: 170cm., 67in. base: 21.5 by 71 by 71cm., 8½ by 28 by 28in.
John Michael Rysbrack (Antwerp 1694-1770 London) A Turk with his horse, forked lightning in the sky black chalk, pen and black ink, brown wash, heightened with white, on brown prepared paper, unframed 7¼ x 7 1/8 in. (18.6 x 18.1 cm.)
A TERRACOTTA BUST OF JOHN LOCKE BY MICHAEL RYSBRACK (1694-1770), 1755 AND A LETTER FROM RYSBRACK TO HIS PATRON DATED 31 JULY 1756, DISCUSSING THE DELIVERY OF THE BUST The sitter facing slightly to dexter and with drapery about the shoulders, signed to the reverse 'Mich...Rysbrack 17..5'; minor firing cracks, damages and old restorations The letter inscribed: Sir./ I am heartily Sorry to Acquaint Your Honour, that I have not been able to do anything for you this Summer, having been so Extreamly busied, and really Sir when I am in my Room, I am always Indisposed, which makes me Chuse Excercise. The bust of Lord Bacon is not burned yet but I Shall Send it with that of Mr. Locke as Soon as it can be Spared, the Statue not being yet finished; I Shall have a Great Pleasure in Seeing you before I send any of the Other Busts, that You may give your Approbation Concerning them..... When I can possibly have an Opportunity to Begin the head of Sir Walter Raleigh I will take it in hand, but it is one of the Most Difficult in your Whole list to make it do well. I am Sir London With the Greatest Respect Vere Street Your Honour's Oxford Chapel most Obedient July 31st. 1756. humble Servant Mich: Rysbrack minor staining and damages to the letter 23 1/8 in. (58.8 cm.) high, the bust 8 7/8 x 7 1/8 in. (22.5 x 18.2 cm.) the letter
ATTRIBUTED TO JOHN MICHAEL RYSBRACK (1694-1770), ENGLISH, SECOND QUARTER 18TH CENTURY TERRACOTTA MAQUETTE FOR A BUST OF GEORGE II terracotta 21.5cm., 8 3/8 in.
MICHAEL RYSBRACK (1694-1770), ENGLISH, CIRCA 1732 BUST OF JOHN PALMER (1612-1679) RECTOR OF ECTON 1641-79; ARCHDEACON OF NORTHAMPTON 1665-79 terracotta, with original painted surface; on a later painted stone base bust: 61cm., 24in. base: 17cm., 6 5/8 in.
A RECTANGULAR CARVED MARBLE RELIEF OF HERCULES ATTRIBUTED TO THE WORKSHOP OF MICHAEL RYSBRACK (1694-1770), CIRCA 1740-60 Hercules recumbent in the centre and being disarmed by three putti; very minor chips to the edges 10¼ x 20 in. (26 x 50.8 cm.)
John Michael Rysbrack (Antwerp 1694-1770 London) Study for a statue of John Locke traces of black chalk, pen and black ink, brown wash, heightened with white 6 3/8 x 2¾ in. (161 x 70 mm.); and Dutch School, 17th Century, Studies after reliefs on two classical sarcophagi; Flemish School, 17th Century, A putto on a pedestal; French School, 18th Century, after Bernini, A study of a sculpture of a saint (recto); Study for a ceiling design (verso); and Italian School, 17th Century, The personification of Abundance (5)
depicted as a Roman general, carved with close-cropped curly hair and furrowed brow, his breast plate partially covered with a heavy cloak attached with a morse on his right shoulder, upon waisted socle with square base, the base of the socle inscribed: Georgius Comes D Orkney filius quintus Gulielmi Dux Hamiltoniae Aetatis sui 67 AD 1733
John Michael Rysbrack (Antwerp 1694-1770 London) Coriolanus and his encampment outside Rome red chalk, brown and black ink, brown wash 12¼ x 13 7/8 in. (310 x 353 mm.)
John Michael Rysbrack (Antwerp 1693-1770) A soldier, full-length, his arms folded red chalk, pen and brown ink, brown wash, on an 18th Century English mount with inscription 'Mich[ae]. l Rysbrack Sculptor' 6 3/8 x 4 in. (162 x 101 mm.)
MICHAEL RYSBRACK (1694-1770), ENGLISH, DATING TO 1736 PROPERTY REMOVED FROM WARWICK CASTLE A MARBLE BUST OF EDWARD THE BLACK PRINCE measurements note overall: 84cm., 33in. PROVENANCE HRH Frederick Prince of Wales; Warwick Castle, Warwickshire LITERATURE MS Accounts at Duchy of Cornwall M.I.Webb, Michael Rysbrack. Sculptor, London 1954, p.214 NOTE This superb work is one of a group of historicising busts by the Flemish émigré sculptor Michael Rysbrack, dating from the late 1720s and early 1730s. The Black Prince is included in the list of Rysbrack's portrait busts drawn up by George Vertue in 1732. A version by Peter Scheemakers was included in the Temple of British Worthies for the gardens of Richard Temple, Viscount Cobham, at Stowe in 1735. In that year Queen Caroline commissioned a series of Kings and Queens of England, for her new Library at St James's designed by William Kent, for which some of the terracotta models survive at Windsor Castle. In an age of patriot politics Rysbrack introduced images of national figures that were at once innovatory, imaginative and remarkably accurate. Edward, Prince of Wales and Aquitaine (1330-1376) was the eldest son of Edward III and Philippa of Hainault. At the age of 16 he played a courageous part at the Battle of Crécy, in which the French were vanquished. It was at Poitiers in 1356, when the French king Jean II was taken prisoner, that Edward demonstrated the qualities of leadership that earned him a place in the pantheon of national heroes. It is no coincidence in this context that one of his closest military companions was Thomas Beauchamp, 11th Earl of Warwick (1313-1369). Rysbrack's bust of the Black Prince is first recorded at Warwick Castle, in the State Bedroom, in an inventory of 1800. It may either have been commissioned by Francis Greville, Earl of Warwick (1719-73), Canaletto's patron, or come through his wife, Elizabeth. Her mother, Lady Archibald Hamilton (d.1753), had played a series of important roles in the Household of Frederick, Prince of Wales. At first possibly the Prince's mistress and adviser, Lady Archibald later became Mistress of the Robes and Keeper of the Privy Purse to Augusta, Princess of Wales. If Elizabeth was the source, it would suggest this is the version commissioned by Frederick, Prince of Wales (1707-51) in 1735 for the Octagon in the garden of Carlton House, Pall Mall. A voucher exists among the Duchy of Cornwall papers dated 1736, for: Work done by Michael Rysbrack for His Royal Highness The Prince of Wales 2 bustows of King Alfred and the Black Prince £105 2 pedestals £7 2 tables statuary marble £3.2. plain work £2.17.3 Drawing 420 letters in D[itt]o tables 12.9 Coting, stopping, writing and gilding £2 10 0. This suggests that some kind of presentation of these semi-mythic figures from British history was intended. The Prince's commission was, perhaps, an overt gesture in support of Richard Temple, Viscount Cobham, who had been deprived of his regiment by George II's Prime Minister, Robert Walpole, tantamount in chivalric terms to being forbidden to bear arms. A third possibility is a provenance to Adderbury, Oxfordshire, the house rebuilt for John Campbell, 2nd Duke of Argyll and 1st Duke of Greenwich. Argyll was a career soldier who had fought under Marlborough in the War of the Spanish Succession, and had been victorious against the Scots at Sheriffmuir in 1715. He became the first ever Field Marshal. In the gallery at Adderbury, built in 1731, a version of the Black Prince was one of six busts by Michael Rysbrack in a programme of military heroes ancient and modern. It was probably sold from Adderbury in the 1770s. What is impressive about Rysbrack's representation of the Black Prince is the accuracy of informed historical observation. The gilt bronze effigy on the Black Prince's tomb at Canterbury has three distinguishing features: the Lion Crest, technically a leopard, the coronet encircling the basinet with alternate trefoils and fleur-de-lis, and the moustache. Rysbrack's helmet is a tolerable attempt at an early fifteenth century basinet, the coronet a replica of that on the alabaster effigy of the Black Prince's uncle, John of Eltham, Earl of Cornwall (d.1336), son of Edward II, in Westminster Abbey. The moustache, not an eighteenth century fashion item, is, however, ubiquitous on tomb figures of the fourteenth century, notably on the alabaster effigy of Thomas Beauchamp, Earl of Warwick (d.1369) in the Beauchamp Chapel, St Mary's Collegiate Church, Warwick. Lion or leopard masks on shoulder defences were not uncommon in the fourteenth century. By the sixteenth century lion pauldrons had acquired classical connotations emblematic of Hercules and his strength in combat. By the seventeenth century the association was with royalty, as in busts of Charles I by Hubert Le Sueur. Rysbrack, with characteristic attention to detail, would appear to have observed the ornament of the shoulder inlets and the damascening of the breast plate of the Lion Armour (Royal Armouries, Leeds), a suit made in Italy c.1550, possibly for Henri II of France. This may have been brought to England by Shakespeare's patron the Earl of Southampton at the end of the sixteenth century. Later the Lion armour appears to have become a studio prop in the possession of the miniaturist Samuel Cooper and others, and to have acquired a politically emblematic significance of its own. By the nineteenth century the suit was thought, ironically, to have belonged to the Black Prince. In this fine bust Rysbrack established a national icon that was immediately recognisable then and now, one whose gothic manner had a veracity of its own. This is so much the case that one might be forgiven for thinking it is a nineteenth century medievalising representation of Prince Albert. We are grateful to Katharine Eustace for cataloguing this lot.
BY MICHAEL RYSBRACK (1694-1770), 1743 Depicted with flowing hair and his head turned slightly to dexter, wearing a ruff and open jacket with braiding and tassles over a buttoned shirt; signed on the reverse 'Michl Rysbrack 1743'; on a later, spreading square ormolu-mounted wood pedestal decorated with masks and scrolling ormolu feet 14 3/4 in. (37.5 cm.) high; 20 1/2 in. (52 cm.) high, overall
![École anglaise - [Attribué à ou Cercle de RYSBRACK, John Michael (1694-1770)].- Un soldat de l'Antiquité romaine. DESSIN ORIGINAL, plume et lavis à l'encre bistre, papier vergé, 23 x 13 cm, collé en plein sur f. de carton avec mention ms.](https://stageimg.invaluable.com/housePhotos/Godts/12/567412/H4709-L74650681.jpg)
![École anglaise - [Attribué à ou Cercle de RYSBRACK, John Michael (1694-1770)].- Trois soldats de l'Antiquité romaine. DESSIN ORIGINAL, plume et lavis à l'encre bistre, rehauts de gouache blanche, papier vergé, 18 x 15,6 cm, collé en plein sur](https://stageimg.invaluable.com/housePhotos/Godts/12/567412/H4709-L74650682.jpg)
![École anglaise - [Attribué à ou Cercle de RYSBRACK, John Michael (1694-1770)].- Moïse fait jaillir une source. DESSIN ORIGINAL, plume et lavis à l'encre bistre, rehauts de gouache blanche, papier vergé, 19,5 x 13,6 cm, collé en plein sur f. de](https://stageimg.invaluable.com/housePhotos/Godts/12/567412/H4709-L74650679.jpg)
![École anglaise - FABER, John (c. 1684-1756).- 2 portraits de John Michael Rysbrack [d'après Jan VANDERBANK (1686-c. 1739)]. [ Londres], J. Faber, 1734. Mezzotintes, cuv. 35,5 x 25 cm + bonnes marges, papier vergé non filigrané.](https://stageimg.invaluable.com/housePhotos/Godts/12/567412/H4709-L74650680.jpg)
